Results
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£42.95You Are the Sunshine of My Life (Flugel/Trombone Sextet with Brass Band - Score and Parts) - Wonder, Stevie - Richards, Goff
A brilliant feature for 3 flugel horns and/or cornets and 3 trombones.Although originally conceived to feature a sextet consisting of three Flugel Horns and three Trombones, with Brass Band, it may, of course, use cornets instead of Flugel Horns or, indeed, a mixture of the two.As it is envisaged that Solo Cornet players may be involved in the sextet, a Repiano Cornet part has been omitted so that the remaining cornet players can be dispersed among the parts to achieve the best balance.Recorded on Polyphonic QPRL229D Ovation!
Estimated dispatch 7-14 working days
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£59.99Meditation (Flugel and Horn Section Feature with Brass Band - Score and Parts) - Hassler, Hans Leo - Sparke, Philip
This timeless melody by Hans Leo Hassler (1564-1612), is now chiefly remembered because of its inclusion in J. S. Bach's St. Matthew Passion, (hence its title) where it is treated to a variety of rich harmonisations. It is mostly sung to Paulus Gerhardt's words, O Sacred head! sore wounded. This setting features the flugel and horns, who first play a lyrical descant to the famous hymn tune and then the melody itself, against a Bach-like obbligato in the accompaniment.Duration: 4:30
Estimated dispatch 7-14 working days
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£35.00Humming Chorus (from Madam Butterfly) (Flugel Quartet with Brass Band - Score and Parts) - Puccini, Giacomo - Littlemore, Phillip
In Puccini's opera, Madam Butterfly, the Coro a bocca chiusa (Humming Chorus) is performed by an off-stage chorus which hums a wordless, melancholy tune, whilst Butterfly, her maid Suzuki, and her child begin the long wait for husband Pinkerton to return after many years away. As night falls, Suzuki and the child are soon asleep, but Butterfly keeps her vigil. This arrangement features four flugel horns, each of which plays into the bell of a bass whilst the bass player moves the valves - creating a unique humming sound. Puccini actually wrote five versions of the opera,?Madam Butterfly. After a disastrous premiere in early 1904, Puccini withdrew the opera and substantially rewrote it creating a very successful second version. However, he continued to tinker with the orchestration, not being satisfied until the fifth, and now standard, version dating from 1907.?Duration: 2:40
Estimated dispatch 7-14 working days
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£125.00As Swiftly As She Destroy, Trample - Gavin Higgins
Destroy, Trample, As Swiftly As She, was commissioned by the Tredegar Town Brass Band. This dramatic, virtuoso score contrasts episodes of visceral energy of pounding rhythms and wild flutter tonguing andbrassy angular themes with the ominous stillness of calmer moments suffused with the unique sound of four flugel horns. Brass Band Grade 6: Championship Duration: 18 minutes
Estimated dispatch 5-14 working days
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£80.00St. Magnus - Kenneth Downie
Dedicated to Alastair Massey, an inspirational music teacher. Commissioned by the Scottish Brass Band Association for the 2004 European Brass Band Championships in Glasgow. This music is a set of variations on the tune known as St Magnus, which is attributed to Jeremiah Clarke. Most people will associate it with Thomas Kelly's hymn which begins: "The Head that once was crowned with thorns is crowned with glory now". The tune is very simple, consisting of just two, four-bar phrases. Neither is there much in the way of rhythmic variety, every note being a crotchet with the exception of two quavers, and the last note in each phrase. Within such a simple structure, however, lies considerable strength. THEME The listener is given the opportunity of hearing it twice, in full, at the beginning, starting with one player but soon taken up by the full ensemble. It returns in the middle of the music and is stated again near the end. This has been done quite deliberately in the hope that there will be an appreciation of what material is being developed, by the listener as well as by those with access to the score, who are able to see the visual connections. VARIATION 1 This takes the rhythm of the last part of the theme and also uses the shape of the opening as a recurring figure. The mood is whimsical and skittish, with short, teasing rhythmic figures tossed around the band, and quick interplay with percussion, at a fast tempo. An energetic flourish finishes this variation before the Andante espress. VARIATION 2 This commences with chords related to the opening of Variation 1. The cantabile on solo comets establishes a new, lyrical mood and there is scope for expressive playing in a series of short solo passages. The theme works its way unobtrusively into the texture before a reprise of the solo cornet melody and some more lyrical interchanges between Eb bass, euphonium, flugel horn and comets. The variation ends serenely with clear references to the last phrase of the theme. VARIATION 3 The first idea to dominate is clearly linked to the shape of the theme's first phrase. There is a frenetic feel to much of this variation, with considerable energy and instability created by extensive use of cross-rhythms. A thinning-out of the score marks a clear change to development of the start of the second phrase of the theme. This proves to be short-lived however, and the opening material returns leading to a restatement of the theme, "Maestoso," after which a euphonium cadenza links to Variation 4. VARIATION 4 Here we have some solos for euphonium, cornet, trombone and Eb bass set against a background of horns and baritones presenting a pensive statement of the theme's opening. VARIATION 5 This commences Allegro, with lively work for cornet and euphonium spreading to the whole band before attention focuses on the beginning of the second phrase of the theme which is initially presented in diminution, then in regular rhythm, then in inversion. An increase in tempo coupled with a decrease in volume, requires dexterity and control, with several metrical challenges thrown in for good measure. The same fragment of phrase becomes an ostinato which generates a frenzied climax, punctuated by short, dramatic silence, before the opening figure returns and the music gradually winds down. The tubular bells herald the final return of the theme, in augmentation, marking the start of the Finale. FINALE This features the running semiquavers of the previous variation sounding in counterpoint. A fast, furious coda speeds the work to a conclusion while references to the opening of the theme are still trying to break into the texture of the music. Kenneth Downie
Estimated dispatch 5-14 working days
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£59.99Meditation - Hans Leo Hassler - Philip Sparke
This timeless melody by Hans Leo Hassler (1564-1612), is now chiefly remembered because of its inclusion in J S Bach's St. Matthew Passion, (hence its title) where it is treated to a variety of rich harmonisations. It is mostly sung to Paulus Gerhardt's words, O Sacred head! sore wounded.This setting features the flugel and horns, who first play a lyrical descant to the famous hymn tune and then the melody itself, against a Bach-like obbligato in the accompaniment.
Estimated dispatch 5-14 working days
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£40.00Nightingale Dances - Matthew Hall
Matthew Hall Nightingale DancesNightingale Dances opens with a mellophonium-esque ensemble sound of 5 flugel horns, 3 tenor horns and trombones inspired by the Manhattan Transfer version of A Nightingale Sang in Berkeley Square, leading into a fast quickstep section for full band.Solo flugel horn takes the lead into the paso-doble middle section of the piece before the original opening to A Nightingale Sang in Berkeley Square becomes the main focus in the euphonium and baritone.A big build up into the final kit-led Hollywood-style show dance section with a half tempo feel ends the work with a real thumping ending to any contest or concert performance.Matthew Hall Nightingale Dances
Estimated dispatch 5-7 working days
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£30.15How Shall I Woo Thee (Cornet Solo with Brass Band) Coleridge-Taylor arr.Bushnell
The 7 African Romances, Op. 17 for voice and piano has words by Paul Laurence Dunbar and music by Samuel Coleridge-Taylor. Published in 1897, it comprises of 7 songs, "An African Love Song", "A Prayer", "A Starry Night", "Dawn", "Ballad", "Over the Hills" and "How Shall I Woo Thee?", of which the last is arranged here.This arrangement was requested by Besses o' th' Barn Band for the The Samuel Coleridge-Taylor Festival held in Liverpool on 11 October 2025. The song is wonderfully lilting with moments to indulge in the music.This arrangement is for the UK-style brass band and either solo B-flat cornet, solo E-flat soprano cornet or soprano singer. It also has alternative parts for horns in F and bass-clef lower brass. A recording of the original song can be found here: https://www.youtube.com/watch?v=tglGpaBsWOo Duration: Approx. 3.10 minutes Difficulty Level: 4th Section + This PDF download includes the full score and parts. Includes alternative parts for soloist in Eb, horns in F and lower brass in bass clef. Sheet music available at www.brassband.co.uk (UK) or www.cimarronmusic.com (USA) Instrumentation: Cornet Soloist Bb Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion 1-2
In Stock: Estimated dispatch 1-3 working days
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£33.92Les Chasseresses from 'Sylvia' (Brass Band) Delibes arr. Rob Bushnell
Clement Philibert Leo Delibes was a French composer, best known for his ballets and operas, including works such as Lakme (with its famous "Flower Duet"), Coppelia and Sylvia (both key works in the development of modern ballet). The latter started as a play, Aminta, by the Italian poet Torquato Tasso, which Delibes set to music. It was then adapted for the Paris Opera with rehearsals starting in August 1875. The premiere took place on 14 June 1876 and was the first ballet to be shown at the newly-built Opera Garnier. Whilst the scenery and costumes were created by top artists and designers (Cheret and Lacoste), it was Delibes's music that shown thrown, being said to have saved the production, preventing the ballet from drifting into obscurity.Sylvia is said to be one of the first modern ballets, with Tchaikovsky remarking to composer Sergei Taneyev upon its ingenuity: "... the first ballet, where the music constitutes not only the main, but the only interest. What charm, what elegance, what richness of melody, rhythm, harmony." Although Swan Lake, a contemporary to Sylvia, is considered one of the best ballets there is, Tchaikovsky preferred Sylvia to his own work, saying Swan Lake was "poor stuff in comparison". Tchaikovsky said to Taneyev, "I was ashamed. If I had known this music early then, of course, I would not have written Swan Lake". The music to Sylvia, rather than setting only the mood, also sets the action and is noted for its use of leitmotifs - Delibes was an admirer of Wagner - and more dominant use of brass and wind. The most famous piece from this ballet is the Pizzicati in the third act.Act I of the ballet takes place in sacred wood, where creatures are worshipping before Eros when Sylvia arrives with her huntresses to mock the god of love. Aminta, a lowly shepherd and infatuated with Sylvia, protects the deity and Sylvia is wounded by Eros's arrow. The hunter Orion kidnaps Sylvia, whilst Eros revives Aminta. Act II takes place in Orion's Island cave, where Sylvia tries to bribe Orion with jewels and wine. Unsuccessful, she appeals to Eros for help, who arrives and takes her to the temple of Diana (where the final act takes place). Orion and Aminta fight, Sylvia and Orion cause the goddess of the hunt, Diana, to be outraged, smiting Orion and denying the love of Aminta and Sylvia. Eros shows Diana a vision, which changes her mind and the couple finally come together.This brilliant and lively fanfare that introduces the huntresses in the first act is arranged here for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass. The piece has been lowered by a tone compared to the original. A recording of the original composition can be found here https://youtu.be/6yoGrUH38PI?si=0L0bFa1qXnYNvkR3 Duration: Approx. 3.10 minutes Difficulty Level: 1st Section + This PDF download includes the full score and parts. Includes alternative parts for soloist in Eb, horns in F and lower brass in bass clef. Sheet music available at www.brassband.co.uk (UK) or www.cimarronmusic.com (USA) Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion - Triangle, Cymbal & Bass Drum
In Stock: Estimated dispatch 1-3 working days
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£33.92Prelude in C-sharp Minor (Brass Band) Rachmaninoff arr. Rob Bushnell
One of Sergei Rachmaninoff's most famous compositions, Prelude in C-sharp minor (Op. 3, No. 2) is part of a set of five pieces entitled Morceaux de fantaisie. It was written when Rachmaninoff was only 19 years old and was first performance by the composer on 26 September 1892 at a festival called the Moscow Electrical Exhibition. This arrangement is for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass. The piece has been transposed from the original (for piano) of C-sharp minor to A minor, which better suits a brass band. There is another arrangement of this piece by Sandy Smith (published by Obrasso) which is designed for more advanced ensembles. A recording of the original composition can be found here: www.youtube.com/watch?v=mXGSfJn3nKQ Duration: Approx. 3.40 minutes Difficulty Level: 3rd Section + PDF download includes parts and score. Also includes alternative parts for horns in F and lower brass in bass clef. Sheet music available from www.brassband.co.uk Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Percussion 1-3
In Stock: Estimated dispatch 1-3 working days
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